1397
studios with topographical work using the full industrial
printing techniques. Such mass production (often mixed
with portraits) means that the study of such photographic
concerns has be merged with knowledge of printing
or lithograph companies if we are to understand the
fi rst generation of mechanical processes driven by the
increasing audience for topographical images for the
burgeoning tourist market. So all images from the 1860s
need to be assessed in such a light: Fratelli Alinari in
Florence dominated the Italian tourist market, Wil-
liam Lawrence of Dublin dominated Ireland, Notman
becomes a major producer in North America based in
Montreal, and Matthew Brady signals the advent of the
photographic combine in the United States. Careful
distinction needs to be made between these ‘super-
companies’ who with others must be seen as a distinct
category quite separate from individual photographers
or small fi rms such as F M Sutcliffe of Whitby who also
undertook more mundane commissions like recording
the Whitby branch of the Woolworths chain store. The
same photographer could equally embrace both the
picturesque and romantic as well as the more practical
or commercial aspects of the same region.
It is only later in the century with the availability
of cheaper equipment and processing that a demand
appears for nostalgic delineations of the lost national
cultures now dominated by industry. Yet the very indus-
trial and urban environments which had helped to create
and popularise photography are often the very elements
least evident in topographical views.
Ian Leith
See also: Lemercier, Lerebours & Bareswill; Mission
Héliographique; Marville, Charles; Annan, Thomas;
de Prangey, Joseph-Philibert Girault;; Le Gray,
Gustave; Valentine, James and Sons; Wilson, George
Washington; England, William; London Stereoscopic
Company; Negretti & Zambra; Frith, Francis;
Underwood, Bert, Elias & Elmer; Beato, Felice;
Thomson, John; Braun, Adolphe; Blanquart-Evrard,
Louis-Désiré; Frith, Francis; Braun, Adolphe; Taylor,
A. & G.; Alinari, Fratelli; Notman, William & Sons;
Brady, Mathew B.; and Sutcliffe, Frank Meadow.
Further Reading
Aubenas, S., Gustave Le Gray 1820–1884, Los Angeles: The J
Paul Getty Museum, 2002.
Baldwin, G., Greenough, S., All the Mighty World: The Pho-
tographs of Roger Fenton, 1852–1860, New Haven: Yale
University Press, 2004.
Bartram, M., The Pre-Raphaelite Camera: Aspects of Victorian
Photography, London: Weidenfeld & Nicholson, 1985.
Daniel, M., The Photographs of Eduard Baldus, New York:
Metropolitan Museum of Art, 1994.
Galassi, P., Before Photography: Painting and the Invention of
Photography, New York: Museum of Modern Art, 1981.
Greenhill, R., Early Photography in Canada, Toronto: Oxford
University Press, 1965.
Ferrez, G., and Naef, W. J. Pioneer Photographers of Brazil
1840–1920, New York: Centre for Inter-American relations,
1976.
Goethem, H., Van. Photography and Realism in the 19th Century.
Antwerp: The Oldest Photographs, Antwerp: Ronny Van de
Velde, 1999.
Hales, P. B. “American Views and the Romance of Moderniza-
tion” in Photography in Nineteenth-Century America, edited
by M. A. Sandweiss, Fort Worth: Amon Carter Museum,
1991.
Leith, I. “Amateurs, Antiquaries and Tradesmen: A Context for
Photographic History in London,” in London Topographical
Record v. XXVIII, edited by A L Saunders, London: London
Topographical Society, 2001.
Leith, I., Delamotte’s Crystal Palace: A Victorian pleasure dome
revealed, Swindon: English Heritage, 2005.
Lyons, C. L., Papadopoulos, J. K., Steward, L. S., and Szegedy-
Maszak, A. Antiquity & Photography: Early Views of Ancient
Mediterranean Sites, London: Thames & Hudson, 2005.
Nickel, D. B., Francis Frith in Egypt and Palestine: A Victorian
Photographer Abroad, Princeton, NJ: Princeton University
Press, 2004.
O’Brien, M., and Bergstein, M. Image and Enterprise: The
photographs of Adolphe Braun, Providence: Thames &
Hudson, 2000.
Perez, N. N., Focus East: Early Photography in the Near East
1839–1885, Jerusalem: The Domino Press, 1988.
Pelizzari, M A., Traces of India: Photography, Architecture
and the Politics of Representation, 1850–1900, New Haven:
Canadian Centre for Architecture, 2003.
Seiberling, G., and Bloore, C., Amateurs, Photography and the
Mid-Victorian Imagination, Chicago: University of Chicago
Press, 1986.
Simpson, D., and Lyon, P., Commonwealth in Focus: 130 Years
of Photographic History, Melbourne: International Cultural
Corporation of Australia, 1982.
Taylor, J., A Dream of England: Landscape, Photography and
the Tourist Imagination, Manchester: Manchester University
Press, 1994.
Trachtenberg, A., Reading American Photographs: Images as
history Mathew Brady to Walker Evans, New York: Hill and
Wang, 1989.
Zannier, I., Le Grand Tour in the Photographs of the 19th Century,
Venice: Canal & Stamperia Editions, 1997.
Zeri, F., Alinari: Photographers of Florence 1852–1920, Milan:
Fratelli Alinari, 1978.TOURIST PHOTOGRAPHY
Travel and travel reports have been associated with each
other since ancient times. The Greek Odyssey is no more
than a travel report; the same for Gulliver’s Travels and
many other more or less fantasy tales and 19th Century
photography was able to provide more reliable informa-
tion about far away places.
Nineteenth century travel was marked by an earlier
18th century idea that travelling was a “grand tour” in
which any well born, young, rich gentleman should take,
seeing historical places, like Italy, in order to see ancient
sites, architecture and art. Travelling and enlightenment